Thinking Activity: Crime and Punishment by R.K. Narayan

 This blog is part of a Thinking Activity on the short story Crime and Punishment by R.K. Narayan. It explores Dynamic roles of teacher and student.

Crime and Punishment by R k Narayan 

Summary:-

The Story begins with The teacher asks his student, "What is sixteen multiplied by three?" The boy deliberately answers incorrectly with "twenty-four," despite knowing the right answer, while giving his teacher a challenging smile.

Frustrated after repeated corrections, the teacher momentarily loses control and slaps the boy. Immediately filled with regret, he pleads with the crying child not to tell his parents. This moment reveals the teacher's vulnerable position - though he believes in discipline, he must conform to the parents' progressive educational theories that reject any form of punishment.

The clever boy quickly recognizes his advantage. He blackmails the teacher by threatening to report the slap unless lessons end early. Their relationship undergoes a complete reversal - the pupil becomes the commander, ordering his teacher to play station master to his toy train. The exhausted educator complies, performing childish games while worrying about the impending arithmetic test.

When the boy's train breaks, he demands the teacher fix it. Unable to handle mechanical toys, the humiliated tutor fails at this task too. The child then forces him to tell endless stories, knowing the teacher fears parental disapproval more than his student's poor academic progress.

The situation escalates when the boy suddenly runs toward the house, forcing his teacher to chase him through the garden in a desperate attempt to prevent him from telling his parents about the slap. This comical yet pathetic pursuit ends with the breathless tutor collapsing just as the parents appear.

In a final ironic twist, when questioned about the boy's progress, the teacher lies to protect himself, saying the student only needs slight improvement. The boy, equally complicit in this deception, remains silent. Both recognize their mutual dependence - the teacher needs to keep his job, while the boy wants to avoid studying.

Narayan masterfully portrays how modern parenting theories can backfire when taken to extremes. The progressive parents' complete rejection of discipline has created a manipulative child who controls adults rather than learning from them. Meanwhile, the teacher's momentary loss of temper leads to his complete loss of authority, showing how fragile an educator's position can be in such environments.

The story's title becomes deeply ironic - the real "crime" may be the parents' excessive permissiveness, while the "punishment" falls not on the misbehaving child but on the trapped teacher. This brief but powerful narrative explores themes of authority, education, and the unintended consequences of well-meaning theories when applied without balance or wisdom.

Role of Teacher and student in Crime and Punishment 

In R.K. Narayan’s Crime and Punishment, the roles of teacher and student are portrayed with irony and complexity, highlighting the reversal of traditional authority in a modern educational setting. The teacher, initially attempting to uphold discipline, loses control and slaps the student, only to be consumed by guilt and fear of the progressive parents who reject any form of punishment. This fear renders him powerless, forcing him to beg for the child's silence and comply with his every demand. The student, clever and manipulative, seizes control of the situation, using the teacher’s vulnerability to dominate him—turning lessons into play and exploiting the imbalance of power. Instead of learning, the student becomes the one in charge, while the teacher, stripped of authority, becomes a servant to the child’s whims. Through this comical yet critical portrayal, Narayan exposes the unintended consequences of permissive parenting and educational theories that ignore the need for balance between freedom and discipline, ultimately showing how both teacher and student are trapped in a dysfunctional system.

Examples of Dynamic role of Teacher and Student 

The shifting roles of teacher and student, as depicted in R.K. Narayan’s Crime and Punishment, find echoes in various forms of literature, cinema, and real-life narratives. These examples emphasize that the relationship between a teacher and a student is not static but evolves through emotional, intellectual, and situational exchanges. Below are select examples that align with the core themes of this story

1) Film: Taare Zameen Par 

Taare Zameen Par, directed by Aamir Khan, is a profound exploration of the dynamic between teacher and student. The film centers on Ishaan Awasthi, an eight-year-old boy who battles with dyslexia, a condition neither recognized nor understood by his parents or teachers. Misinterpreting his struggles as laziness and disobedience, the adults in his life subject him to punishment and shame. The narrative shifts when Ram Shankar Nikumbh, a perceptive and empathetic art teacher, enters Ishaan’s life. Rather than adhering to rigid academic expectations, Nikumbh takes the time to understand Ishaan’s emotional world and learning challenges. Through patience, encouragement, and alternative teaching methods, he unlocks the boy’s artistic talents and restores his self-confidence. This transformation not only impacts Ishaan but also redefines Nikumbh’s role as a teacher—from a disciplinarian to a nurturing mentor. Much like the teacher in R.K. Narayan’s Crime and Punishment, Nikumbh learns that true education begins with empathy and that teaching is as much about listening as it is about guiding.

2) Dead Poets Society 

Peter Weir’s acclaimed film Dead Poets Society vividly portrays the evolving roles between teacher and student through the character of Mr. John Keating, an English teacher at a conservative boarding school. Keating employs unconventional teaching methods, urging his students to "seize the day" (carpe diem) and think independently. Rather than simply transferring knowledge, he inspires them to challenge societal expectations, express themselves freely, and find their own voices. As the story progresses, the students—particularly Neil Perry and Todd Anderson—undergo significant personal transformation, driven by Keating's mentorship. However, their emotional and intellectual awakening also leads to conflict with rigid institutional norms, resulting in tragedy. Importantly, Keating himself learns from his students' courage and convictions. This mutual influence demonstrates that teaching is not a one-way act of instruction but a shared journey of discovery. The film ultimately highlights how a passionate educator can awaken dormant potential in students, and how students, in turn, can challenge, inspire, and shape their teachers.

3) The Karate Kid 

The Karate Kid presents a powerful example of the evolving relationship between a teacher and a student. The story follows a young boy—Daniel LaRusso in the 1984 version and Dre Parker in the 2010 remake—who faces bullying and low self-esteem after moving to a new place. He encounters Mr. Miyagi (or Mr. Han in the remake), an unassuming mentor who agrees to teach him martial arts. What begins as a physical discipline gradually turns into a journey of emotional and moral development. Mr. Miyagi doesn’t just train Daniel to fight but helps him discover patience, respect, and inner strength. At the same time, the mentor also gains renewed purpose and emotional healing through his bond with the student. This transformation of roles—from teacher to friend, and from student to self-reliant individual—mirrors the lesson in R.K. Narayan’s Crime and Punishment, where both teacher and student grow through shared experiences. It highlights how true learning is reciprocal, rooted in empathy, patience, and trust.

4) Web Series: Kota Factory (2019)

The Kota Factory, created by Saurabh Khanna, offers a realistic and emotionally resonant portrayal of the teacher-student relationship in the context of India’s competitive education system. Set in Kota, a city known for its IIT coaching centers, the series follows Vaibhav, a determined teenager who moves there to prepare for the prestigious IIT entrance exam. Amid academic pressure and emotional struggle, he finds guidance in Jeetu Bhaiya, a beloved teacher who balances strict discipline with deep empathy. Jeetu Bhaiya does not merely teach formulas or exam techniques; he becomes a mentor, life coach, and emotional anchor for his students. His role constantly evolves—sometimes a motivator, sometimes a critic, and often a silent supporter. Vaibhav and his peers, in turn, grow not just as students but as individuals with dreams, fears, and moral questions. Much like R.K. Narayan’s Crime and Punishment, the series highlights that a meaningful teacher-student relationship involves mutual growth, emotional intelligence, and a shared journey toward self-realization and resilience.

Conclusion 

The dynamic roles of teacher and student, as portrayed in R.K. Narayan’s Crime and Punishment and echoed in other narratives, reveal how authority, empathy, and learning constantly shift in response to personal, cultural, and institutional contexts. Whether through manipulation, mentorship, or mutual transformation, these relationships are never one-dimensional. Narayan’s story critiques extreme parenting and educational trends while inviting reflection on the fragile balance between discipline and compassion. The examples discussed—from cinema to web series—affirm that teaching is a deeply human interaction, where both student and teacher can grow, falter, and evolve through honest engagement and emotional intelligence.

Group Discussion Activity On The Poem Leaving India By Rachna Joshi

This blog on The poem Leaving India By Rachna Joshi as Group Discussion Activity assigned by Prakruti Ma'am.

Group Members 

1. Khushi Goswami 
2. Sanket Vavadiya 
3. Smruti Vadher
4. Dhruvika Gohel 
5. Mita Jambucha 
6. Mansi Joshi

The Poem "Leaving India" By Rachna Joshi 

Why did I leave India

And came to North America.

I was very young and full of

naive ideas about studying

poetry, traveling and finding

true love.

North America was clean, sanitized

almost sterile. Everything

swept orderly and shining.

The crowds are smaller, more manageable.

In Syracuse N.A , the skies were blue

The autumnal trees red and orange

And the light is golden and white.

I saw

Beautiful pictures.

Everything smelt of plastic and perfume.

India is stark, ancient and ugly,

Magnificent, uplifting or degrading.

In North America, there were

No ruins, No myths, no ghosts.

This really seems brave new

Naked world.

In India, all meaning comes from

Sacramental link with the Past

We may deny history, family and tradition

But somewhere

Five thousand years of continuous civilisation

Lie in wait like a doting grandparent

Step 1: Based on the poem assigned to your group, discuss the thematic and critical aspects, and prepare one long and one short answer from the question bank.

Long Question 

1) Discuss Diasporic Identity and raise the question of belongingness.

Introduction 

The poem Leaving India by Rachna Joshi, written in a reflective tone, presents  the poet’s experience of living in North America. Through thoughtful expression and emotional depth, Joshi explores the complexities of diasporic identity. She describes her migration from India with youthful aspirations of poetry, travel, and love. However, she soon finds herself suspended between two contrasting worlds. This emotional dislocation—of feeling neither fully at home in the new country nor entirely disconnected from the homeland—is central to the diasporic experience.

1. Cultural Displacement and Emotional Isolation

Once in North America, the speaker senses a lack of emotional and spiritual depth in her new surroundings. The line “The crowds are smaller, more manageable” may suggest peace and comfort, but it also subtly expresses a feeling of emptiness and loneliness. Compared to India’s vibrant and chaotic life, this quietness feels isolating.

Joshi writes, “Everything smelt of plastic and perfume,” indicating a sense of artificiality. While the surroundings may appear beautiful, they lack genuine cultural warmth. This reflects the speaker’s feeling of cultural disconnection and displacement in a foreign land.

2. Memory and Cultural Inheritance

Memory plays a significant role in the poem, particularly in how the speaker relates to India. The homeland is not just remembered—it is felt through myths, rituals, and family traditions that continue to shape her sense of self. These inherited cultural elements are not easily left behind, even after physically migrating. The speaker's identity remains rooted in the collective memory and spiritual history of India, suggesting that belonging can transcend physical borders and persist through emotional and ancestral connections.

3. Identity as Fragmented and Evolving

The poem subtly reveals that diasporic identity is never fixed or singular. Instead, it is fragmented, evolving, and constantly negotiated. The speaker is torn between two places, two cultures, and two versions of herself. She is not fully Indian nor fully North American. This in-between state reflects the broader diasporic experience, where individuals are shaped by multiple influences and must continually redefine their sense of self in response to changing environments and inner conflicts.

Conclusion 

Leaving India portrays the inner conflict faced by those living in diaspora—the longing for personal freedom and exploration in a new land, contrasted with the enduring pull of one’s roots and cultural past. Rachna Joshi’s poem beautifully captures the emotional complexities of migration, showing that the feeling of “home” is not defined by geography alone, but by the emotional, spiritual, and cultural ties that continue to shape a person’s identity.

Short Question 

2) Write a short note on ‘Usage of Paradox’ in rachna joshi’s poem.

In the Paradox, a literary device in which contradictory ideas are placed side by side, is effectively used in Leaving India to reveal deeper truths about the speaker’s diasporic experience.

For example, India is described as “stark, ancient and ugly, magnificent, uplifting or degrading,” presenting a series of opposing descriptors. These contradictions highlight the complex and multifaceted nature of the speaker’s homeland—a place that is both beautiful and chaotic, a source of pride as well as pain. Through such paradoxical imagery, the poet captures the intense emotional bond and cultural richness that define India.

In contrast, North America is portrayed with phrases like “clean, sanitized, almost sterile.” While these words may initially suggest order and comfort, the term “sterile” also implies a lack of life and emotional depth. Thus, the new land appears outwardly perfect but inwardly hollow, reinforcing the speaker’s sense of emotional disconnection.

The poet’s internal conflict—feeling drawn to both cultures yet unsettled in each—reflects the paradox of belonging. Identity and culture are not fixed or simple; they are shaped by contradictions and emotional tension.

Furthermore, the phrase “brave new naked world” conveys this paradox with striking clarity. While the word “brave” suggests optimism and progress, “naked” implies vulnerability and emptiness. North America may be advanced and organized, but it feels soulless and detached from history and tradition. Through such paradoxes, the poet underscores the complexity of diasporic identity and the emotional costs of cultural displacement.

Use of Paradox

New World (North America)	Homeland (India)
Clear, sanitized, sterile	Ugly, ancient, stark
Brave, new, advanced	Naked, vulnerable, exposed
Plastic, perfume (artificial beauty)	Chaos, clutter, natural depth
Smaller, manageable crowds (peaceful)	Loud, overwhelming crowds (alive)
Perfect surface (emotionally shallow)	Flawed appearance (spiritually rich)

Step 2: Prepare a report of the group discussion addressing the following questions:

• Which poem and questions were discussed by the group? Was there any unique approach or technique used by your group to discuss the topic?

We discussed the poem ‘Leaving India’ by Rachna Joshi discussed by our group and we divided topics one by one, 

Khushi Goswami dealt with the Diasporic Identity of Rachna Joshi and how it is represented in the poem, themes of the poem and Usage of Paradox.

I dealt with critical aspects of the poem.

Smruti dealt with her love for India.                                                                               

The other three members are absent from the discussion. (Mita, Manasi and Dhruvika)

At the end we discussed through the Question Bank for the. 

• Who led the discussion or contributed most to the discussion? Did everyone contribute equally?

Khushi Goswami led the discussion and all members contributed equally. With all aspects of the poem also we discussed other poems which are in syllabus.

• Which points were easy and which ones were difficult for everyone in your group to understand?

the poem Leaving India were quite easy for our group to understand, as the poem is more accessible compared to other poems we have studied. After discussing this poem, we moved on to An Introduction by Kamala Das, We also discussed the themes of fascism and communism from Meena Kandasamy’s Eklavyam, which I personally found difficult to understand as well.

Step 3: Briefly present your learning outcomes from this activity.

The group discussion activity was very beneficial for me and my classmates. It provided an excellent opportunity to revisit and revise all the poems included in the unit. Through this collaborative process, we were able to clarify difficult concepts and resolve doubts that some students had regarding specific poems. 

Moreover, the group discussion encouraged active participation, critical thinking, and the development of communication skills. Listening to different viewpoints expanded our understanding and allowed us to approach the texts from multiple perspectives.

Thank you 

Maharaja: Analysing Editing and Non-linear Narrative

 Hello Everyone, Welcome to my blog This blog as part of the Movie Analysis task assigned by Dr. Prof. Dilip Barad Sir (Head of the Department of English MKBU). This blog is cover the wide aspects of Movie, "MAHARAJA" Editing, Analysis, Significant Scene etc. 

For further information Click here.

Part A: Before Watching the Film

1. What is Non-Linear Narration in Cinema?

            Non-linear narration is a storytelling method where the events are not shown in chronological order. Instead of starting from the beginning and going to the end, the film may begin in the middle, go back to the past, or jump ahead to the future. This style makes the story more interesting. It helps create suspense, explain characters better, and keep the audience engaged by making them wonder what will happen next.

Examples:- 

1) GOAT 

2) BĀHUBALI

3) TAMASHA

2. How Can Editing Alter or Manipulate the Perception of Time in Film?

Editing in films helps control how time is shown on screen. It allows filmmakers to change the natural flow of time to create suspense, show important backstories, or move the story forward quickly. Instead of showing every moment in order, editors can jump between scenes from the past or future, show two events happening at the same time, or skip over unimportant parts. This keeps the story engaging and helps the audience stay connected with the characters and the plot.

1. Flashbacks – Show events from the past to help understand a character or situation.

 Example: In Tamasha, flashbacks show the hero’s childhood and help explain his current behavior.

2. Cross-Cutting – Shows two or more scenes happening at the same time in different places.

Example: In Baahubali: The Beginning, cross-cutting is used during battle scenes to show what different characters are doing at the same time.

3. Parallel Editing – Shows two storylines side by side, often switching between them.

Example: In Baahubali: The Beginning, the film moves between Shivudu’s present and Baahubali’s past, revealing the hidden connection between them.

4. Ellipsis – Skips over time to move the story forward quickly.

Example: In Tamasha, many years of the character’s struggle are skipped using ellipsis, and only the key turning points are shown.

5. Jump Cuts – Quick cuts that show time passing in a fast or broken way within a single scene.

Example: In Goat Life, jump cuts are used to show the long journey of survival without showing every single day in detail.

PART B: WHILE WATCHING THE FILM 

Scene/Sequence	Timestamp	Time Period	Visual/Editing Clues	Narrative Purpose
Maharaja at Barber Shop	00:02:30	Past	Warm tones, close-up of razor, diegetic Antakshari singing	Establishes peaceful routine; contrasts impending chaos. Foreshadows community bonds.
Truck Accident	00:06:24	Past	Wide → extreme close-up; sound abruptly cuts	Inciting incident. Visual whiplash mirrors life’s sudden destruction.
FIR for "Lakshmi"	00:25:33	Present	Static wide shot, cold blue palette	Misleads audience; launches investigation with false premise (Lakshmi as object).
Maharaja Murders Dhana	01:04:13	Present	Shoulder-cam POV, erratic jump cuts	Protagonist’s moral descent; subjective framing implicates viewer.
Selvam’s Gold Locket	01:16:24	Past	Soft focus, slow zoom on locket	Critical clue (Chekhov’s gun). Links Selvam to crime through daughter’s token.
Daughter’s Trauma Reveal	01:52:36	Past	High-contrast lighting, trembling close-ups	Emotional core of revenge. Clinical whites vs. raw pain highlight violation.
Climax: Anurag Confrontation	02:06:02	Present	Chiaroscuro lighting, 360-degree tracking shot	Moral reckoning. Light/shadow battle visualizes justice vs. vengeance.
Daughter’s Identity Twist	02:12:20	Past–Present	Intercut childhood clips, haunting L-cuts	Emotional climax. Reframes entire narrative through re-identified daughter.

PART C: Narrative Mapping Task

No.	Scenes
1	Antakshari scene in Maharaja’s barber shop introduces the local setting.
2	Jothi appears at a sports event, but her identity is unclear.
3	Suspenseful scenes with garage tools, ticking sounds, and a bar fight.
4	FIR filed for “Lakshmi”, misleading viewers into thinking she is a person.
5	Serpent sound from cupboard adds psychological tension.
6	Maharaja murders a man, shocking the audience.
7	Clues lead to Anurag — locket purchase, phone call, and haircut.
8	Duplicate dustbin found, deepening the mystery.
9	Police question Maharaja about the dustbin; he stays silent.
10	Flashback reveals Jothi’s trauma and how she escaped.
11	False suspect exposed during interrogation.
12	Hospital flashback confirms Jothi is alive.
13	Anurag is arrested in a revealing flashback.
14	A girl arrives with a teacher, assumed to be Jothi.
15	Final twist: the girl is Anurag’s daughter; Jothi is safe; “Lakshmi” is the dustbin.

 

Reflection

Maharaja masterfully employs a non-linear narrative to heighten emotional intensity and maintain suspense. By presenting events out of sequence, the film controls the audience's perspective, gradually revealing truths that redefine earlier scenes.

When Maharaja files an FIR for “Lakshmi,” and his silent attachment to a dustbin and locket is shown, viewers are misled into thinking he mourns his daughter. This assumption is purposefully challenged much later, when it's disclosed that Lakshmi is actually the dustbin — the very object that safeguarded Jothi during her escape. This symbolic reversal hits with emotional force precisely because of the delayed revelation.

The storytelling technique incorporates flashbacks, disjointed timelines, symbolic objects, and strategic sound design to align us with Maharaja’s internal world — his grief, his silence, and his trauma. These fragments mirror the fractured way in which trauma is experienced and remembered.

One of the most powerful moments occurs at the end, when a young girl is assumed to be Jothi, only for the truth to subvert our expectations — she is Anurag’s daughter, not Maharaja’s. This clever twist deepens the film’s themes of justice and paternal protection.

Had the film followed a straightforward chronological order, the mystery, tension, and emotional catharsis would have been severely diminished. The non-linear structure not only amplifies suspense but also immerses us in the protagonist’s disoriented, emotional state, making the final reveals profoundly impactful.

Part D : Editing Techniques Deep Dive 

Choose any two sequences from the film that demonstrate exceptional editing.

The first sequence unfolds on the day of Anurag’s daughter’s birthday. During a visit to Maharaja’s salon, Anurag inadvertently leaves behind a chain intended as a gift for his daughter. While at the salon, he also engages in a seemingly casual conversation with a criminal associate, unaware that Maharaja might have overheard the incriminating dialogue. Later that same day, Maharaja arrives at the birthday celebration to return the forgotten chain. However, this moment is strategically intercut with the arrival of the police, who arrest Anurag on the spot. The use of cross-cutting between these parallel actions creates a sense of causality, leading both Anurag and the audience to infer that Maharaja may have tipped off the authorities.

This perceived betrayal becomes a critical emotional misjudgment that festers within Anurag, shaping his attitude and actions throughout the narrative. The emotional tension created by this misunderstanding is compounded in the second key sequence. Immediately following the arrest, the film abruptly transitions to a harrowing flashback the rape of Jothi, which occurred after Anurag’s return from a training camp. The sudden shift in tone, supported by a stark visual palette and an unsettling soundscape, amplifies the emotional gravity of the scene.

By juxtaposing these two sequences  one driven by misunderstanding and the other by trauma the editing weaves together different timelines to underscore themes of guilt, lost accountability, and irreversible harm. These editorial choices not only heighten suspense and viewer engagement but also lay the groundwork for the climactic rooftop confrontation, where all illusions and misperceptions finally unravel.

Part E: Analytical Task

“In Maharaja, editing is not merely a technical craft but a storytelling strategy.”

Discuss with reference to the film’s temporal structure, use of reveals, and viewer engagement.

In Maharaja, editing transcends its conventional role as a post-production technique and emerges as a deliberate narrative device that shapes the audience’s perception, emotional response, and engagement with the storyline. The film adopts a non-linear temporal structure, disrupting chronological continuity to construct a layered and suspenseful narrative. By fragmenting the timeline and strategically placing flashbacks, the film mirrors the fractured psyche of its protagonist and compels viewers to actively reconstruct the truth alongside the unfolding plot.

Rather than offering a straightforward account of events, Maharaja presents selected moments in a fragmented manner, withholding crucial information and releasing it in carefully timed segments. For instance, in the early stages, viewers witness Maharaja emotionally attached to a dustbin named “Lakshmi” and registering a missing complaint. The assumption that his daughter has been murdered is intentionally fostered. However, it is only through subsequent flashbacks and editorial techniques—such as match cuts, symbolic close-ups, and sound bridges—that the true significance of the dustbin is revealed. “Lakshmi” is not a person, but the very object that safeguarded his daughter, Jothi, during her traumatic escape from sexual violence.

The rooftop climax epitomizes this editorial strategy. The use of slow motion, intercut flashbacks, and the symbolic image of the chain or locket orchestrate a powerful moment of revelation—not only for the antagonist Anurag, but also for the viewer. It is here that the audience discovers that the girl thought to be Maharaja’s daughter is, in fact, Anurag’s own child, while the real Jothi is alive and safe.

Such editorial decisions are not incidental but are purposefully designed to manipulate audience expectation and emotion. The placement of reveals aligns with emotional cues rather than logical sequence, ensuring that each moment resonates with heightened intensity. This method draws the viewer deeper into the emotional world of the characters, particularly Maharaja’s silent anguish and moral resolve.

In essence, Maharaja transforms editing into the narrative engine of the film. By interweaving memory, perception, and present action, it crafts a cinematic experience that is both intellectually engaging and emotionally resonant. Had the film followed a linear structure, much of its suspense and psychological depth would have been diminished. The chosen temporal design allows each revelation to strike with maximum emotional force, underscoring that in Maharaja, editing is not an afterthought—it is the soul of the story.

                                      Thank you!!

Reference

Analysing Editing & Non‑Linear Narrative in Maharaja.” ResearchGate, uploaded by user (if specified), ResearchGate, 2024, www.researchgate.net/publication/393653801_ANALYSING_EDITING_NON-LINEAR_NARRATIVE_IN_MAHARAJA

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An Astrologer’s Day by R K Narayan

 Hello Everyone, Welcome to my Blog This Blog about Movie Screening Reflection assigned by Megha Ma'am, 

For more information, Click here (Teacher Blog)

In this blog, I explore the short story An Astrologer’s Day by R.K. Narayan and its Hindi short film adaptation. This reflection is based on reading the original story and watching the film as part of the movie screening task. 

                        (Hindi Short film)

Pre-Viewing Reflections

Before watching the film, the literary structure of Narayan’s short story revealed a careful blend of character-driven tension and ironic twist. The setting—a bustling market under dim lighting near the Town Hall Park—served not only as a physical backdrop but also as a metaphor for the blurred lines between truth and illusion.

The plot revolves around a seemingly gifted astrologer who is, in reality, an escapee from a violent past. His chance encounter with Guru Nayak—the man he thought he had killed—builds suspense and leads to a twist ending.

The characters are finely sketched: the astrologer is deceptive yet vulnerable, Guru Nayak is vengeful yet unsuspecting, and the astrologer’s wife provides a grounding domestic perspective.

The story’s style is marked by subtle irony and third-person omniscient narration, while the theme focuses on guilt, fate, survival through deceit, and eventual psychological release.

While-Viewing Reflections

1. The Beginning

The film opens with a powerful and authentic recreation of the bustling South Indian marketplace, which serves as the central setting in R.K. Narayan’s short story. This opening sequence immerses the viewer in the world of the astrologer through a blend of ambient sounds—vendors calling out, footsteps shuffling over dusty streets, temple bells ringing faintly in the background. These sensory elements immediately evoke the crowded and chaotic atmosphere described in the original story.

The astrologer’s attire his saffron turban, sacred ash, and cowrie shells closely follows the original story. These details make his character culturally authentic and believable. His position, slightly apart from the busy market, reflects a sense of separation. This subtle placement suggests he is hiding a secret from his past.

2. Important Scenes

The Encounter with Guru Nayak

This scene is the emotional and narrative core of both the story and the film. The tension is palpable as the astrologer recognizes his past victim. The actor’s subtle expressions and the dim cheroot light convey fear and shock effectively. The dialogue is well-paced and closely mirrors the original story.

The Conversation with Wife

The domestic conversation at the end adds emotional depth. It shows the astrologer not only as a trickster but as a husband burdened with guilt. His confession that “a great load is gone from me today” is delivered with restrained emotion, capturing his internal relief.

The Market Scene

The dynamic crowd, food vendors, and faint lighting depict the chaotic vibrancy of the market as mentioned in the story. This setting plays a vital role in making the astrologer’s practice believable.

3. The End and the Climax

The film concludes with the astrologer walking home, finally at peace. The climax—where the astrologer tells Guru Nayak that his enemy is dead—is portrayed with careful suspense and dramatic control. This pivotal moment maintains the integrity of Narayan’s twist while providing visual satisfaction.

Post-Viewing Reflections

How faithful is the movie to the original short story?

The film is highly faithful to the original. Most scenes, especially dialogues between the astrologer and Guru Nayak, are taken directly from the text. The sequence of events and character dynamics remain intact, enhancing the story’s original impact without unnecessary deviation.

After watching the movie, have your perception about the short story, characters or situations changed?

Yes, viewing the story on screen added emotional resonance to the astrologer’s fear and relief. While reading, the tone felt more ironic, but the film introduced a more humane layer to the astrologer’s character. His vulnerability became more relatable and real.

Do you feel ‘aesthetic delight’ while watching the movie? If yes, exactly when did it happen? If no, explain with reasons.

Yes, aesthetic delight was felt during the climactic revelation. The subtle use of light, the close-up of the astrologer's eyes as he recognizes Guru Nayak, and the final moment of truth created a powerful cinematic experience. The visual storytelling heightened the emotional payoff.

Does screening of the movie help you in better understanding of the short story?

Absolutely. The film clarified spatial details of the marketplace and amplified the psychological dimensions of the astrologer’s fear. Seeing facial expressions and hearing the emotional tone of dialogue made the internal conflicts more immediate and impactful.

Was there any particular scene or moment in the story that you think was perfect?

The scene where the astrologer confidently tells Guru Nayak, “The man you seek is already dead,” was executed perfectly. It combined suspense, irony, and a strategic reversal of power. The performance, lighting, and pacing made it the highlight of the film.

If you are the director, what changes would you like to make in the remaking of the movie?

If given the opportunity to direct, I would add a brief flashback sequence showing the quarrel and stabbing in the astrologer’s youth. This visual context could deepen audience empathy and clarify the backstory. Additionally, more symbolic use of lighting—perhaps a sudden shift when he recognizes Guru Nayak—could further enhance the emotional stakes. 

Conclusion 

The cinematic adaptation of R.K. Narayan’s “An Astrologer’s Day” not only remained faithful to the original text but also enriched its psychological and aesthetic dimensions. Through this multi-modal engagement—reading, viewing, and reflecting—the layered meaning of the story became clearer. Such exercises deepen literary appreciation and demonstrate how classic narratives can be reimagined for modern audiences without losing their essence.

Reference 

"An Astrologer’s Day – Hindi Short Film." YouTube, uploaded by Antara Creation, 25 May 2017, www.youtube.com/watch?v=TkfrjYFQozA.

Poetry and Poststructuralism: An AI Powered Analysis

 This blog is part of an assignment given by Dr. Dilip Barad. The task involves creating a poem using AI (ChatGPT) and studying the theory of Deconstruction or Post-structuralism. For further reading Click here.

Poems Generated By Ai 

1)Whispers of Rain

2)The Heart of the Forest

1)"Whispers of Rain"

                    

 Beneath the vaulted shade of ancient trees,

The forest hums with life upon the breeze.

Its emerald light, through branches gently poured,

Reveals the quiet strength the woods have stored.

A deer slips past where golden mushrooms grow,

And time itself moves with a softer flow.

The moss-clad stones recall forgotten lore,

Where roots grip deep like memories of yore.

Each leaf a prayer, each bird a fleeting song,

A world where all things wild and wise belong.

Here silence speaks in tones both old and deep

A cradle where the earth and spirit sleep.

Deconstructive Explanation in Three Model of Peter Barry's 

1. Verbal Stage

Focus: Contradictions, paradoxes, and binary oppositions at the word/phrase level.

Contradiction in tone and imagery:

Rain is portrayed as gentle, renewing, and healing, but its association with grief, longing, and ache brings in paradox. Is rain a source of comfort or sadness?

"Each drop recalls a longing half-forgot": suggests memory and forgetting coexist.

"A tear of joy or grief we never sought": introduces binary emotions — joy and grief — but undermines their separateness by blending them in one image.

2. Textual Stage

Focus: Shifts in tone, perspective, logic, or omissions that create discontinuity.

Shift in temporal focus:

The poem moves from present observation of rain (“Then falls the rain…”) to past memory (“recalls a longing”) to future regeneration (“seeds… spring’s new breath”).

This movement is not seamless — it disrupts unity, exposing the lack of a stable time frame.

Shift in emotional tone:

Begins in calm stillness, moves to melancholic remembrance, and ends in hopeful renewal — this shift in tone reflects internal conflict or instability in the poem’s emotional stance.

3. Linguistic Stage

Focus: Doubts about the reliability of language to express meaning.

Language as inadequate or self-defeating:

The speaker tries to name rain’s emotional power (“tear of joy or grief”), but the language ends up blurring distinctions.

The phrase “we never sought” admits that the emotion isn’t consciously wanted — yet the poem gives form to it, thus contradicting itself.

Romantic diction vs. internal dissonance:

The poem uses elevated, lyrical language (“silver thread”, “gentle rain”, “renew the world”), but what it reveals is unresolved pain (“ache”, “longing”, “grief”).

It speaks of healing, yet unearths emotional wounds, showing how language fails to seal what it attempts to mend.

The metaphorical trap:

Phrases like “cleanse the ache” suggest catharsis, but by naming pain, the speaker re-experiences it.

Much like Thomas’s poem, this speaker tries to transcend grief but ends up being pulled deeper into its poetic expression.

Conclusion 

Thus, though the poem appears to offer peace and renewal, a deconstructive reading uncovers a hidden tension — where mourning, memory, and meaning are endlessly deferred. Just like the rain it describes, the poem both nourishes and unsettles.

2)The Heart of the Forest

                         

Beneath the vaulted shade of ancient trees,

The forest hums with life upon the breeze.

Its emerald light, through branches gently poured,

Reveals the quiet strength the woods have stored.

A deer slips past where golden mushrooms grow,

And time itself moves with a softer flow.

The moss-clad stones recall forgotten lore,

Where roots grip deep like memories of yore.

Each leaf a prayer, each bird a fleeting song,

A world where all things wild and wise belong.

Here silence speaks in tones both old and deep

A cradle where the earth and spirit sleep.

Deconstuctive Explanation 

Binary Oppositions:-

Belsey emphasizes how poststructuralism doesn't just identify binary oppositions (like nature/civilization), but shows how they are reversed, blurred, or destabilized. In this poem, we find:

Binary Opposition Apparent Value Hierarchy Destabilization

Nature vs Civilization

→ Nature seems pure and wise, but it’s actually a human-made idea shaped by language.

Silence vs Speech

→ Silence is said to “speak,” but this is a paradox that blurs literal and metaphorical meaning.

Stillness vs Motion

→ Time feels still, yet it flows softly, showing that stillness and motion are not truly separate.

Past vs Present

→ The poem speaks from the present but longs for the past, making time unclear and overlapping.

2. Surface vs Hidden Meaning

Surface meaning:

The poem is a lyrical celebration of the forest as a peaceful, sacred, and timeless place — a refuge where the “earth and spirit sleep.”

Hidden contradictions:

The phrase “each leaf a prayer” anthropomorphizes nature, inserting human religion into the natural world — undermining its wildness.

The "deer slipping past" and "soft flow of time" seem gentle, but they evoke elusiveness, ephemerality, and the impossibility of possession.

The forest is described as full of forgotten lore and deep silence — yet the poet narrates and interprets this in elevated, spiritualized diction. This contradicts the poststructuralist idea that such meanings are not found in the forest itself but generated through the language of the poem.

3. Textual Instability and Slippages

Despite its formal structure and flowing rhythm, the poem is riddled with slippages in meaning:

“Here silence speaks…”: A paradox — can silence speak? The line undermines itself and shows how language stretches itself into contradiction.

“Roots grip deep like memories of yore”: Memory here is imagined as buried, ancient, and organic, but memory itself is unreliable, selective, and subjective — its use in the simile is unstable.

Conclusion 

Thus, the poem is not about the forest. It is about our desire for meaning, for peace, for the sacred — all of which are produced by language itself, not discovered in nature.

How to Deconstruct a Text: Deconstructive Reading of Four Poems by Shakespeare, Ezra Pound, William Carlos Williams, and Dylan Thomas

 Hello Everyone, welcome to my blog, This blog about Deconstructive Reading task assigned by Dr. Dilip Barad sir (Head of the Department MKBU), for more information click here.

This blog  task on  How to Deconstruct a text, of three poems 

1)Sonnet 18 by William Shakespeare 

2) In a Station of Metro by Ezra Pound

3) The  Red Wheelbarrow by William Carlos Williams's 

4)Dylan Thomas's poem 'A refusal to mourn the death, by fire, of a child in London' 

1) The poem Sonnet 18:- Shall I compare thee 

"How to Deconstruct a Text: Sonnet 18—Shall I Compare Thee"  

                The Poem Sonnet 18 by William Shakespeare talk about the  beauty of beloved and comparing his beloved with summer's day, but the poet express his beloved more beautiful with comparing other things, and summer represent nature, like season while below represent beauty, love. In the poem using words represent something like, Temperate represent Balance and gentleness, rough winds represent violence and disruption in nature and decline represent fading beauty. Furthermore, the poet occupies a hegemonic position as the creator, deciding what beauty is and how it should be remembered.

Binary Opposition: Beloved vs. Nature

• The poem compares the beloved to summer but says nature is rough, short, and fades.
• He claims the beloved is better.
• But this is just his opinion—it’s built using nature’s language.
• So, the poem depends on nature even while trying to go beyond it.
• This shows a contradiction: it uses nature to say the beloved is better than nature.

Power over Time and Death

• The poet claims that death won’t touch the beloved.
• He suggests that poetry is stronger than time and death.
• But time and death are real forces—poetry is just made of words.
• Deconstruction asks: Can words really defeat death?
• Since language changes, it can’t fully control time or death.

The Illusion of Poetic Immortality

• The poem claims poetry can grant “eternal life,” but deconstruction shows that this is just a rhetorical illusion.
• Poetic immortality is dependent on the reader’s interpretation, the preservation of text, and the shifting norms of language—none of which are guaranteed.
• Thus, the idea of "forever" is not fixed; it is fragile and uncertain.

In this poem, the poet clearly holds a central and dominant position. Another contrast we can notice is how the poem emphasizes the idea that the beloved must stay beautiful forever. It suggests that if the beloved is beautiful, then the poet feels inspired to write. Also, beauty is judged by certain standards, and the poem mainly praises physical appearance.

2) In a Station of Metro by Ezra Pound

                    ( Generate by Chat Gpt) 

"The apparition of these faces in the crowd;

Petals on a wet, black bough."

The poem is very short and When we see the visual image of this poem, and interpretation like a quick moment in a metro station and Image suggest that busy life of human beings. The poet sees many faces in the crowd. These faces appear suddenly, like a ghost or an illusion. It shows a contrast between light and dark, soft and hard, and between being alone and being lost in a group.

The Binary Opposition of the poem we can identify the Urban vs rural, soft vs darkness moreover we see the contrasting binary opposition of this poem, overall show a fleeting moment of beauty in a busy metro station. The faces in the crowd appear like delicate petals on a dark branch.

3)The Red Wheelbarrow by William Carlos Williams's 

           ( Generate by Chat Gpt )

"So much depend on a red wheelbarrow

Glazed with rain water, 

Besides the white chicken."

The opening line, “so much depends”, suggests importance. But the poet never explains what depends or why. The phrase feels weighty but leads us only to a wheelbarrow and some chickens. In the image, the red color of the wheelbarrow and the white of the chickens stand in contrast, yet neither dominates. 

The red wheelbarrow is a tool usually used for work or carrying things. But in the poem, it is just sitting still, wet with rain, not being used. Even though it’s not doing anything, the poem says that a lot depends on it. This makes the wheelbarrow feel strange because it doesn’t match its usual purpose.

The white chickens are also there, but they are quiet and not described much. We don’t know if they are important or just part of the background. The poem doesn’t explain, so it lets readers think in different ways and find their own meaning.

4) Dylan Thomas's poem 'A refusal to mourn the death, by fire, of a child in London' 

Never until the mankind making

Bird beast and flower

Fathering and all humbling darkness

Tells with silence the last light breaking

And the still hour

Is come of the sea tumbling in harness

And I must enter again the round

Zion of the water bead

And the synagogue of the ear of corn

Shall I let pray the shadow of a sound

Or sow my salt seed

In the least valley of sackcloth to mourn

The majesty and burning of the child's death.

I shall not murder

The mankind of her going with a grave truth

Nor blaspheme down the stations of the breath

With any further

Elegy of innocence and youth.

Deep with the first dead lies London's daughter,

Robed in the long friends,

The grains beyond age, the dark veins of her mother,

Secret by the unmourning water

Of the riding Thames.

After the first death, there is no other.

The Poem Claims Silence but Speaks Loudly

The poet says he refuses to mourn the child, yet the poem itself becomes an emotional expression of grief. This shows a contradiction between what the poet says and what the poem actually does.

Language Opposes the Poet’s Intent

Although the poet talks about being silent, he uses rich, symbolic, and poetic words. The poem is full of powerful language that expresses sorrow and spiritual meaning, even as it claims to avoid doing so.

Nature and War Are Mixed Together

The child died in a wartime fire — a violent, man-made event. But the poem uses natural images like “grains,” “river,” and “earth.” This blurs the line between natural death and human-caused destruction.

Binary Oppositions Collapse

The poem presents opposites like mourning/silence, natural/unnatural, war/peace — but these opposites fall apart. The poem tries to separate them but ends up mixing them, making meaning unstable.

Dylan Thomas’s poem "A Refusal to Mourn the Death, by Fire, of a Child in London" can be understood through a deconstructive reading, which looks at contradictions and hidden meanings in the text. At first, the poet says he will not mourn the child’s death, but the entire poem feels like a mourning itself, filled with serious and emotional language. For example, the final line says, “After the first death, there is no other,” but if it is the first death, then logically others could follow, which creates confusion. Also, the poem praises darkness instead of light, which goes against usual ideas where light is good and darkness is bad. The poem shifts between large, cosmic images and the real death of a child, without clearly explaining who the child is or why the poet refuses to mourn. These gaps and sudden changes show the poem is not as united or clear as it seems. Thomas also criticizes traditional mourning words but then uses poetic and grand language himself, showing that he cannot escape the limits of language. In the end, the poem says one thing but does another—it tries to avoid mourning but ends up mourning in a deep and symbolic way. This shows how language in the poem is full of contradictions, and meaning is unstable and complex.

Thank you !!

Reference

Barad, Dilip. Deconstructive Analysis of Ezra Pound's "In a Station of the Metro" and William Carlos Williams's "The Red Wheelbarrow." ResearchGate, July 2024, https://www.researchgate.net/publication/381943844_Deconstructive_Analysis_of_Ezra_Pound's_'In_a_Station_of_the_Metro'_and_William_Carlos_Williams's_'The_Red_Wheelbarrow'.